Juan Diego Flórez

Bellini: La Sonnambula - Dessay, Fl 0743357

Natalie Dessay's Amina, gloriously, naturally acted . . . is also brilliantly sung . . . Flórez has learned to contain some of the big shine in his voice and when it needs to be mellow it is, indeed, mellow but the big climaxes gleam like silver.

Record Review /
Robert Levine,
International Record Review (London) / 01. April 2010

The result is a satisfying account of Bellini's fragrant masterpiece. Whenever Juan Diego Flórez looses his soaring high notes, he is not merely a joy to hear, he is expressing real emotions . . . When Natalie Dessay sings the dreamy, endlessly unreeling melody of Amina's climactic sleepwalk, she holds us breathless on the thread of her voice . . . Flórez's voice has expanded to handle bel canto phrases . . . His brilliant B-flat filled the Met and is no less impressive here. His leap to head voice is well executed, and he maneuvers it to express dramatic despair. Dessay sings the long and arduous title role very prettily . . .

Record Review /
John Yohalem,
Opera News (New York) / 01. June 2010

Whenever Juan Diego Flórez looses his soaring high notes, he is not merely a joy to hear, he is expressing real emotions . . . When Natalie Dessay sings the dreamy, endlessly unreeling melody of Amina's climactic sleepwalk, she holds us breathless on the thread of her voice.

Record Review /
John Yohalem,
Opera News (New York) / 01. June 2010

As Elvino, Juan Diego Flórez is richer in tone than in recent performances and you feel the violence ignited by his sexual jealousy. In the pit, Evelino Pidò is everything you need, attentive to the score and ever watchful of his singers.